It was an exquisite day for a journey to the centuries-old, preeminent region of woodblock makers and printers–blue skies, clear air, rich vegetation surrounding us as our van climbed up the switch-backed road outside Jaipur, India. Lake Sagar below was mirror-like, reflecting the deep-hued colors of the saris worn by the women who were floating boat candles, their prayers to the gods sent along with each. The Amber Fort was in the distance above us, where, if you squinted hard, you could see the train of elephants lumbering up the very steep road, with cargoes of tourists on their backs.

Kheri Gate is the entrance to the Anokhi Museum of Hand Printing. Ganesha, the Hindu god of success welcomes all.

But we were here at the Kheri Gate for another reason, to visit the Anokhi Museum of Hand Printing–the premier museum dedicated to the preservation and exhibition of the country’s top hand-blocked textiles, both contemporary and traditional. Its home is a restored Rajastani Haveli; each staircase led to demonstration or exhibition rooms. The block-printing tables were on the top floor, a wondrous room with sun-filled light.

The number of printing blocks used for a design depends on the number of colors in the artwork and its complexity. Blocks are classified into three types: the background block (gudh), the outline block (rekh), and the filling block(datta). The average design will have one background block which is printed first and acts as a guide for the next block, the rekh, delineating the outline of the design. And finally, a minimum of three to four dattas are used, one at a time, filling in each of the colors. Contemporary prints can use up to twelve blocks.

Block printing the background (gudh) on cloth. This is the first of many blocks used for this design.

Gold and silver as a decorative finish was a common feature in traditional Indian painted and printed fabrics. The older technique was fairly simple, with the pattern being painted or printed with a gum paste (roghan) to which gold or silver leaf (varak) was applied. Today, this printing is done using a brass stencil, a plunger loaded with a measured amount of paste which is pushed through the stencil onto the fabric. Metallic powder is then dusted over this sticky pattern; the dust adhering to the fabric wherever paste is present.

The metallic gold powder is dusted over the printed paste design, adhering to the cloth.

This and other Anokhi sarongs are made using these traditional handblock printing processes and gold dusting. This most versatile of cover-ups can be used as a wrap for yourself or precious cargo, a scarf or shawl, or to adorn your table. We couldn’t help but scoop them up for our ClothRoads store.

About ClothRoads

Travel with us on ClothRoads to a world of authentic textile culture. Here you’ll find folk and collectible textiles, accessories, fabric, and fiber art materials from many corners of the globe, along with fascinating stories of indigenous artisans and ancient techniques used in traditional and modern ways. From the rivers of India to the mountaintops of Peru, we go directly to villages and cooperatives to bring you these textile stories and the work of skilled artisans who are dyeing, weaving, spinning, printing and embroidering some of world’s most beautiful objects. When you purchase from ClothRoads, you help us to build and develop new markets that allow artisans and communities, especially women and girls, to flourish.